This article investigates some of the properties and capabilities of electronic keyboards which now dominate so many British music departments, especially in secondary schools. Their strengths and limitations are discussed and questions are raised over whether the prevailing practice in lessons always supports worthwhile musical objectives. It is argued that the emphases placed upon musical literacy and assessment do not necessarily enhance pupils' musical experiences or promote gains in sensitivity and awareness. An example of good practice is described, and it is suggested that more stress might be placed on defining that which constitutes a musical lesson so that keyboards can be used to support genuinely musical outcomes.